Taxi Driver

Travis Bickle can’t sleep. He lives in New York and is up all night, so why not become a cab driver? Well, for starters, he hates pretty much everyone on the streets after dark, plus, he’s a potentially psychotic madman, with aspirations of saving, destroying or integrating himself into society, depending on the day. He spends his days pining for a campaign worker for a local presidential candidate, but when that relationship turns sour Bickle’s attentions turn to a young prostitute, whom Travis believes is in need of a saviour.
Taxi 08
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Finding Nemo

Taking a simple story, a father searches for his kidnapped son, and although transposing it to tropical fish sounds insane, the concept works, with Albert Brooks overprotective clown fish Marlin travelling to Sydney to rescue his son, who in turn is doing his best to escape the dentist’s fish tank within which he recently became imprisoned. As ever with Pixar, it is the myriad of supporting characters that make the film truly great, here ranging from the cabin fever crazed fish tank gang (voiced by, among others, Willem Dafoe, Stephen Root, Alison Janney and semi-regular collaborator Brad Garrett) to Ellen DeGeneres’ short term memory loss suffering regal tang Dory, probably the most popular and oft-quoted characters from the film.
Pixar rightfully uses the films running time to show off their immense design skills, displaying as many watery environments as possible (sewers, wide open oceans, docks, puddles) and a cornucopia of every widely recognisable aquatic lifeform, including sea turtles, jellyfish, sharks, pelicans, Aardman-inspired seagulls, stingrays, swordfish (fencing with upper class English accents), angler fish, whales and Bostonian lobsters.
It says something of the animating skill of Pixar that they had to degrade the quality of the water in this film, as initial feedback showed it was too realistic. Given enough time, I wouldn’t be surprised if they were able to make a seemingly live action film without anyone noticing.
Choose film 8/10

Out of Sight

Last night I watched Out of Sight. I’d seen it before, but never really paid an awful lot of attention to it, but this time I made an effort to follow the plot. I think the film is a little over-rated, with editing style taking precedence over actual substance. In places, it seems to want to be a modernised version of classic cinema, with freezeframes, snappy dialogue and a plot that sees George Clooney’s prison escapee and Jennifer Lopez’s federal marshal thrown together and falling for one another, but it is this plot device that in my opinion lets the film down. I’ve always hated the tacking on of an arbitrary romance subplot almost ruining what would otherwise be an incredible picture (see also the Nightmare Before Christmas, Pulp Fiction, Star Wars), and this is definitely the case with Out of Sight. If the film had focussed on Clooney’s Jack Foley, his escape from prison and the heists before and after, I feel it would have been a far superior picture. By all means keep J-Lo’s character, (but for the love of cinema, recast) but drop the frankly ridiculous romance between the two. The best part of the film was the cast, with Don Cheadle eating up the screen as hoodlum Snoop, whilst Ving Rhames supports well as Buddy, Foley’s redemption-craving partner in crime. And the last minute cameo is one of the greatest I’ve ever seen.

Choose film 7/10